Category Archives: Theatre

Theatre

Review, the dark, fuel theatre/ovalhouse co-production, at pontio by gareth williams

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out of 5 stars (3 / 5)

Everyone has a story to tell. The Dark is Nick Makoha’s story. His is a story of a childhood journey from his home in Uganda to the UK. It is a journey across a country that is under siege and extremely dangerous. It is a journey of survival, on a minibus bound for the border. It is a journey of a mother who desires a better life for her son. It is witty. It is thought-provoking. At times, it feels terribly real. As Makoha himself says, it puts ‘a face to the polarising words of refugee and immigrant’.

Featuring Michael Balogun and Akiya Henry in multiple roles, The Dark immerses you in the Ugandan culture of the 1970s. The brutality and oppressiveness of the Idi Amin regime is felt throughout. Yet this play is ultimately about the colourful characters whom Makoha and his mother meet along the way. Balogun and Henry inject such vibrancy into these people. They transition seamlessly between the different characters. It never gets confusing as to who they are portraying. Such transitioning is made even more natural by the excellent use of lighting, as well as their movement around the stage.

The set is simple enough. It features a cluster of chairs underneath a massive overhang filled with boxes and bags. This is clearly the minibus (or ‘mutatu’ in local parlance). In addition, an OHP screen and projector are to one side, keeping us updated on the times and locations of the journey. We also get to see some personal photographs of Makoha’s which flit onto the screen now and again. They act as a gentle and sobering reminder that what we are witnessing is a reconstruction of real events. This is what makes the final scenes in particular all the more powerful.

Although engaging throughout, it is in the final quarter of an hour that The Dark really grips you. With the border now well and truly in sight, the young Makoha and his mother have soldiers hot on their tail. But just as the chance of escape beckons, his mother must make a life-changing decision. It is incredibly tense. Positively gripping. But what makes it even more powerful come the end is the subsequent reaction of the UK border official towards the young Makoha. This final scene left me feeling frustrated and rather angry. And I think that’s what Makoha the writer is looking for. He wants to shake us out of our complacency. To remind us of the responsibility we have towards those who have had little choice but to leave their country of origin because of war and conflict. As such, The Dark is a timely play whose message we would do well to heed.

Nick Makoha

The Dark is Nick Makoha’s story. It is an important story for our time. It may have been made even more powerful if it immersed the audience into its world via the seats on stage. That’s where I felt I should be, compelled, as I was, by the performances of Balogun and Henry to join them on this journey. As it was, this one-act play still made an impact on me in the way that I think it was meant to. I just hope that it is seen by much bigger audiences than witnessed it here in North Wales. It is pertinent. A story that is much needed. There is a power and importance to this individual’s story that cannot be underestimated.

Click here to visit Fuel Theatre’s website.

gareth
Musical, Theatre

JERSEY BOYS – A REVIEW BY KEVIN JOHNSON

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Wales Millennium Centre until 26th Jan.

⭐️⭐️⭐️⭐️⭐️

image1.png

A Jukebox Musical is one that takes the songs of famous singers or groups and turns them into a show, the most famous example being Mamma Mia. They’ve been around since 1962, but took off in the 2000’s, this one being written In 2005. 

They normally fall into two types, the first where they tie the songs together using an original story, like Mamma Mia. The second is where the songs are used as signposts in the life story of the artist, and this is what we have here.

Four guys grow up in New Jersey in the 50’s, where the only way out was through the army, crime or music. They got together, took the name of a bowling alley called The Four Seasons and had a string of hits (Walk Like A Man, Bye Bye Baby, Let’s Hang On, Big Girls Don’t Cry) powered by their group harmonies and Frankie Valli’s unique voice. 

The show is divided into four parts (Spring, Summer, Fall, Winter) each told separately by one of the four members, symbolising the group’s rise and fall, and also how the truth has more than one side to it. 

Beginning in 1954, we follow Frankie Valliand Tommy DeVito through their ups and downs, time in prison, and the many different bands they go through, before they are joined by guitarist Nick Massi and Bob Gaudio, a singer & songwriter introduced to the others by fellow Jersey Boy and Oscar-winning actorJoe Pesci, which, amazingly, is true.

Produced by Bob Crewe, they were the first white group signed by Vee-Jay Records, and had their first No.1 with Sherry in 1962, and their last with December 1963 thirteen years later. 

Written in 2005, this show gets full marks from me for several reasons: The songs are memorable, the staging is great, the performers are highly talented, and the story is incredible. What’s also impressive is that the band are portrayed realistically, they were no angels and paid the price for it. We see the cost of fame, divorces, debts both financial and spiritual, and personal tragedy, but also that what kept them going through it all was a love of music. 

With a running time of 2 hours 40, the time flies by, my own highlight being “Can’t Take My Eyes Off You”, which has a special meaning for Welsh football fans reflected by the Cardiff audience, which gave the show a standing ovation, which it utterly deserved.

https://www.wmc.org.uk/en/whats-on/2019/jersey-boys/

Theatre

AN INTERVIEW WITH CRACKED WRITER, POET AND PLAYWRIGHT EMILY HINSHELWOOD.

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Emily is a writer, performer and arts facilitator, working in schools, community centres and adult education. She is an award-winning poet and has won competitions for her scriptwriting, animations, and illustrations. She enjoys collaborating with other artists (e.g. she recently toured with harpist Delyth Jenkins) and finding ways to make her ideas accessible.

She originally trained as a social
anthropologist. This foundational interest in people, social systems and the
way we interact with our world continues to inform all her work. She worked for
14 years in London and overseas (including Iraq and Gambia) before moving to
Wales in 1997 for a lecturer post at Swansea University.  She settled in Tairgwaith, a small mining
village at the foot of the Brecon Beacons where she and her partner co-founded
a community energy charity Awel Aman Tawe.

Her poetry is published by Seren Books
and she has been writer in residence at many diverse events e.g. Span Arts
Festival of Dying, Dylan Thomas Centenary travelling writing shed, IKEA, several
EU conferences on Climate Change amongst others. She worked for Women’s Arts
Association for 2 years, and ran a programme of Arts and Climate Change
projects for 4 years.

She has worked as a creative writer in
over 100 schools (from nursery to year 13), ran the Neath Port Talbot Young
Writers Squad for 4 years and has led many writing courses for adults eg at Ty
Newydd, and in the community, eg a recent Stories of Change multi-university
creative writing project.

She has done several long-distance
walks to inform her work, e.g. walking the length of Manhattan picking up a
piece of litter from every street to create a long found poem; and walking
across Wales asking every person she met 3 questions about climate change. She
co-founded Peacock Vein ScriptShop in 2004, a forum for scriptwriters, and
continues to co-host the monthly Script café in Pontardawe Arts Centre. She
produces collaborative plays and has had several of her own plays produced
locally eg: Dylan Thomas, Dylan Who?,
Sitting it out in Merthyr and Buoy.

She is a committed Welsh learner, and won the Chair last year at the south Wales Learners Eisteddfod. She has two daughters, and keeps bees.

As a published poet, how did you make the move into script writing?

I’ve always loved dialogue. I love listening to people, the way they talk, their turns of phrases. I’m interested in the way people interact, the spaces between them, what they say and what they hide. I have used dialogue in my poetry since I began writing, and have produced many verbatim poems. So the shift to writing scripts wasn’t a hard one. But what I have concentrated on in creating Cracked is how to put more of my approach to poetry into my process of scriptwriting. I started with a series of poems which included “the Surgical Removal of the Voice” These poems led the play in a fundamentally different way to how I’ve written scripts before – primarily through metaphor.

What made you write Cracked?

Aged 9, I wrote a story called The Very Lonely Man. In this, the lonely man’s desperate search for friends leads him to be publicly shamed. The story continued to resonate with me all my life and, in a sense, Cracked is a reworking of The Very Lonely Man.

I’m interested in the subconscious motivations
for our actions; how childhood trauma can profoundly influence us even in
adulthood, often without us being conscious of it. I know from my own
experience, as well as from research, that our inner critic can be a huge
obstacle to a happy and fulfilling life. From my creative work in schools, I find
many pupils suffering from an overactive inner critic. I wanted to create a
piece – for both young people and adults – that explored ‘the life of an inner
critic’; something that could trigger a discussion on how we can respond to the
negative voices inside our minds.

Another big influence on Cracked were 2
teachers who supported me at a difficult time at school. One of them used to
invite me (+ 3 others) to her house during the holidays. This would be totally
unacceptable now. Another supported me in school every Wednesday on an informal
one to one basis. This play is partly a tribute to them.

Can you tell us little about the development process? How the idea of Cavelle has ultimately become the touring play Cracked?

Cracked has been through many incarnations. It originally began as a piece for the Pontardawe Arts Centre Script slam, and then I was selected for the Chrysalis programme through which I received support to develop it. Louise Osborn, as dramaturg, directed the process of helping me explore, with actors, the issues I’m interested in. We examined together the concept of the inner critic and the storyline of Mick and Stewart. I was particularly keen to see how Cavelle (Mick’s inner critic) could be manifested on stage. I was really lucky to work with Louise and a team of great actors in two R&D processes over two years. We shared the play at various stages with live audiences selected specially for feedback on the issues raised and the script has been through a great pile of revisions until finally, I feel it has gelled into the play I wanted it to be.

https://youtu.be/U4u958Shpdc

Why do you think Cracked is important?

‘Voices’ inside the mind are part of the human condition. They help us to make decisions, to understand situations and to comfort ourselves. But sometimes and for some people they can be more negative than positive. Sometimes the inner critic can be crippling and can lead to anxiety, fear and depression. Yet in spite of the universality of it, and the similarity of our inner critics’ messages, we barely talk about it. I would like the play to stimulate discussion about this very real phenomenon, discussion that can lead to practical ways of diffusing the power of the critical voice.

I also think it’s important to consider the storyline of Mick and Stewart. How can we support vulnerable young people in schools without compromising the need for child protection. While the play doesn’t come up with answers to this, it raises the question of what point Mick crossed the line and how he could have managed his support for Stewart in another way.

Who
do you think will enjoy the play?

From the sharings we have held during
the development of the piece, it received very positive feedback. Young people,
parents, youth workers, teachers, therapists as well as a general drama
audience enjoyed it.

With a cast of 5, an exciting set, puppetry and live music, I feel this play will be enjoyable and thought provoking to a wide audience of adults and young people.

©Kirstenmcternan 012

You can see all of the tour dates at the link below

https://www.literaturewales.org/lw-event/cracked-by-emily-hinshelwood/

Art, Dance, Literature, Music, Musical, Theatre

Top Tunes with Megan Pritchard

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A portrait photograph of Megan Pritchard.

Hi Megan, this chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to? 

At the moment I’m listening to the Lazarus soundtrack, it’s the current CD in my car and I haven’t changed it for about 6 months, so I often listen to it on short journeys around Cardiff – for me it’s the perfect mid-point between three things I really enjoy: story-telling, musicals and David Bowie. I was lucky enough to see Lazarus at it’s run in London in 2015 – it was brilliantly written by Enda Walsh, and the staging was a great balance between rock concert, performance-art and play. I especially enjoy Michael C Hall’s version of Lazarus as I still find the David Bowie recording quite painful to listen to.

https://youtu.be/B8aEi1oJK9w

We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why? 

David Bowie – Underground

I had to think for a long time about which Bowie track to include in this list. To say his work has been an influence on my life would be an understatement. Like lots of people my age, Labyrinth introduced me to Bowie, and as a fantasy-obsessed 9 year old, you can only imagine appeal of the mysterious Goblin King. My mum was happy to cultivate the interest and began to introduce me to his other albums; she even bunked me off school to see his Reality Tour at the NEC when I was 14 and the Lazarus a few years ago (I burst into tears at the end, it was all very embarrassing for her). 

Bowie’s influence has woven itself through me in fashion, philosophy and art as well as music. He is the poster-boy of reassurance for strange young minds that it’s cool to be weird; and whilst I have other favourite Bowie songs and albums, Underground was the catalyst.

https://youtu.be/Qga12-bAS4A

Dick Dale – Pumpkin and Honey Bunny, Misirlou

I could have picked any track from the Pulp Fiction soundtrack to remind me fondly of my university years. As a young scenography student Simon Banham (who I’ve been lucky enough to cross path’s with again in a Professional capacity at NDCWales) decided we would study and create studio work based on Tarantino’s cult film.  

I fell in love with the movie and learned loads during the project. For me, the driving pace of this track takes me back to the craziness of deadlines. As soon as I hear Yolanda say the iconic opening words I’m always grinning, reminded of some of the best friends and best work I made at that time.

https://youtu.be/A_6ajei_isE

Nick Hennessey – A Rare Hunger

I’ve always loved songs that tell a story, I’d enjoyed musicals from a young age but not really considered a mixture of spoken word and song before going to a Story-Telling event at my local arts centre. Nick Hennessey (a singer, songwriter, storyteller and harp-player) quickly became a firm favourite in my playlists, and the more he toured, the more CD’s I was able to get my hands on. I’ve been able to see him live a few times now and he has a unique way of weaving vivid tales whilst also possessing the most wonderful voice.  A Rare Hunger is my favourite album he’s produced so far, the perfect relaxation for the active mind prone to imagination.

https://soundcloud.com/shireshead/nick-hennessey-lord-franklin

Johnny Hollow – Alchemy

I occasionally moonlight as a burlesque dancer, and whilst its certainly more of a hobby than a career; Alchemy is the track to one of my most requested acts, it’s carried me to some exciting shows both in the UK and further afield and allowed me to meet some incredibly inspiring women as well as life changing friends.  I was introduced to Johnny Hollow whilst part of a devising society at university. They have an affinity for creating emotive and atmospheric tracks that easily stir the imagination.

https://youtu.be/dtq72jbfQ-o

Adam Hurst – Midnight Waltz

This is track that fills me with pride every time I listen to it. It features as part of Caroline Finn’s Folk a contemporary dance piece that has become well known as part of National Dance Company Wales’ repertoire over the last few years. 

https://youtu.be/ZTlFuSsR6Qk

I’ve been working for NDCWales for 7 years now and have heard lots of music, there was plenty to choose from; but I can’t hear this without picturing Folk with joy. For me, it’s a reminder of some of the highlights of my career so far (and arguably highlights for the Company too) Like a few of my other fav tracks, it’s quite fantastical and evocative.

https://youtu.be/p2FYBUjLcqs

Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?

Oh Gosh! To pick a favourite from the list above would be like saying one part of my life has been a more important part of growing up than another – but without question if you ask me my favourite musician, I’ll tell you Bowie; so lets go with that.

https://youtu.be/EOlowNcrBO8
Art, Circus, Dance, Festivals, Film & TV, Literature, Museums & heritage, Music, Musical, Opera & classical, Theatre

Interviews and articles from 2018

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Please find below a range of interviews and articles from the Get the Chance team published in 2018.

Welsh and Wales based artists respond to the new Arts Council Wales Corporate Plan, 2018 – 2023 “For the benefit of all”  

Guy O’Donnell.

getthechance.wales/2018/11/25/a-response-to-arts-council-wales-corporate-plan-2018-2023-for-the-benefit-of-all/

Ahead of the 2018 Brecon Baroque Festival, Roger Barrington had the chance to chat to it’s Artistic Director, Rachel Podger about what to expect this year and also about her own flourishing career as one of the world’s leading violinists.

getthechance.wales/2018/10/06/gramophone-artist-of-the-year-rachel-podger-in-conversation-ahead-of-brecon-baroque-festival-2018/#more-11470

In this article we interview a range of arts professionals to share good practice in the areas of Access, Inclusion and Diversity.

getthechance.wales/2018/03/25/sharing-positive-action-support-access-inclusion-diversity/

I am going to explore with you the invaluable discoveries and perspective gained from participating in the YANC event held at the Wales Millennium Centre over last weekend.

Beth Clark.

getthechance.wales/2018/05/01/a-response-to-casgliad-2018-nurturing-youth-arts-in-wales-by-beth-clark/

In this article we look forward to a range of cultural highlights in 2018. Thanks to all of the creative artists involved for their own personal response.

Guy O’Donnell

getthechance.wales/2018/01/20/looking-ahead-2018-culture-creativity-change/

The Director of Get the Chance, Guy O’Donnell recently met with Rachel Boulton, Artistic Director of Motherlode, they discussed her background, thoughts on the arts in Wales and Motherlodes new production ‘Exodus’ which premiers at the Coliseum Theatre, Aberdare on the 5th of October before touring.

getthechance.wales/2018/09/21/an-interview-with-rachel-boulton-writer-and-director-of-exodus/

Philip Ridley’s acclaimed one-act 2000 play, “Vincent River” tells the story of a mother whose son Vincent has been murdered in a homophobic attack. In the aftermath, she learns about her son’s homosexuality. An interview with Director Luke Hereford.

Roger Barrington.

getthechance.wales/2018/09/11/preview-with-interview-of-vincent-river-at-jacobs-market-cardiff-19-21-september-2018/

The Director of Get the Chance, Guy O’Donnell recently met with Sarah Rogers, Artistic Director of Ransack Dance, they discussed her background, thoughts on the arts in Wales and her new production ‘Murmur’, taking place on Fri 14th September 2018 at Memo Arts Centre, Barry.

getthechance.wales/2018/08/31/an-interview-with-sarah-rogers-artistic-director-of-ransack-dance/

An audio/subtitled interview with Carole Blade, Director of Coreo Cymru and Creative Producer for Dance in Wales. Editing by Roger Barrington.

getthechance.wales/2018/04/14/audio-interview-carole-blade-director-coreo-cymru-creative-producer-dance-wales/

Top Tunes with Jonny Cotsen

getthechance.wales/2018/01/09/top-tunes-jonny-cotsen/

Get the Chance values the role Welsh or Wales based playwrights bring to the cultural life of our nation. Here is the latest interview in this series with actor and playwright Matthew Trevannion.

getthechance.wales/2018/03/22/interview-matthew-trevannion/

The director of Get the Chance, Guy O’Donnell recently met with playwright and actor Joe Wiltshire Smith.They discussed his background, creative opportunities for young people in Bridgend, his new play Five Green Bottles and his thoughts on the arts in Wales.

getthechance.wales/2018/06/19/an-interview-with-joe-wiltshire-smith/

The director of Get the Chance, Guy O’Donnell recently met with Aisha Kigwalilo. They discussed her background, a new arts project called G.I.R.L. Xhibtion and her thoughts on the arts in Wales.

getthechance.wales/2018/06/06/an-interview-with-aisha-kigwalilo/

The director of Get the Chance, Guy O’Donnell recently met with Aleksandra (Nikolajev) Jones. They discussed her background and training, a current project Gravida and her thoughts on the arts in Wales.

getthechance.wales/2018/05/26/an-interview-with-aleksandra-nikolajev-jones/

An interview with BSL interpreter Cathryn Heulwen McShane

getthechance.wales/2018/04/27/an-interview-with-cathryn-haulwen-mcshane/

Dance, Festivals, Film & TV, Literature, Music, Musical, Opera & classical, Theatre

The Get the Chance team choose their cultural highlights of 2018

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We asked our team to choose their personal three cultural events of 2018 along with a favourite performance and/or organisation. Enjoy reading their individual responses below.

Barbara Elin

2018 has been quite a year; when I submit my thesis on New Year’s, it will be the culmination of four years of intense research, and quite the end of an era (and hopefully the start of a new one). So I’m lucky that, in between the furious bouts of writing and the dreaded editing, I’ve been distracted by some truly brilliant productions, too many to narrow down – from the vicious Motherf**ker with the Hat to the inventively-staged Turn of the Screw and the impressive evocation of character in This is Elvis and At Last: The Etta James Story, 2018’s theatre and dance landscape has provided an embarrassment of riches. So I’m going to cheat a little bit in narrowing down to my ‘top 3’…

3) For ingenuity and fun, Mischief Movie Night/ Murder for Two

No two productions have made me laugh this year more than these two – and though they share a common thread of entertaining ingenuity, they’re vastly different from each other. The former showcased the talent of Mischief Theatre’s on-the-spot improvisational skills, the latter was a tightly-wound machine of script, song and silliness. Both of these productions demonstrated how creative and clever the craftsmanship of theatre is – all while making you laugh too!

2) For pure, joyous entertainment, Young Frankenstein / Rock of Ages.

I love a good musical, and these are two of my favourites in recent memory. The original Young Frankenstein movie is in my top 3 movies ever, so I worried a musical version with a whole new cast could never do justice to the original – well, it did with bells on! Brilliant songs, spectacular setpieces and an original evocation of that original cast made this a must-see. And I have such special memories of seeing Rock of Ages for the first time, so it always has a place in my heart – it’s also one of the only truly great jukebox musicals I’ve seen, and this new cast reinvigorated an already raucous, rip-roaring ride! Can’t wait to see it a fourth time…

1) For powerful and haunting work,

Cascade Dance Theatre’s Frankenstein 

Theatr Clwyd/Sherman Theatre, Lord of the Flies

These two productions utterly blew me away with their beautiful, haunting performances – both reimagined old classics in new, intriguing ways and were utterly gripping from start to finish. There are moments in both shows that I will never forget, and without doubt they are the best productions of 2018 for me.

Personal Highlight: It’s only appropriate, given my research into Frankenstein and the bicentennial of the novel’s publication, that I started and ended 2017 with Frankenstein-related productions – Young Frankenstein on the West End in January and Cascade Dance Theatre’s Frankenstein on the tail end of November. So my personal highlight of this year would be presenting my research in Bologna for the Frankenstein bicentennial conference. I’m so grateful to Prof Anthony Mandal and the CRECS/ RomText team for this wonderful opportunity.

Venue of 2018: The Sherman Theatre’s dedication to inclusivity, accessibility and innovation remains unmatched in my opinion, and their post-show panels are always a joy to be a part of. Many thanks to Tim Howe for involving me.

Company of 2018: Cascade Dance Theatre’s Frankenstein did the impossible – reimagined Mary Shelley’s classic almost wordlessly, in imaginative new ways with stunning moments and dark, modern twists. Bravo!

Gareth Ford-Elliott

For number three I’ll say Cheer by Kitty Hughes at The Other Room. This was fun and alternative and out of the things I reviewed, definitely one of the best.

For number two I’d have to say Humanequin by Kelly Jones at Wales Millennium Centre. This was an important piece of theatre and despite not being the best was definitely the most important piece I saw this year.

For things I’ve reviewed I would definitely have to say Cardiff Boy by Kevin Jones at The Other Room is number one. This was the best all-round show I saw outside of the Edinburgh Fringe this year. Every aspect of it was brilliant and it’s up there with one of my favourite shows I’ve ever seen.

For the cultural events, things I didn’t review, I will say Five Green Bottles by Joe Wiltshire-Smith and Spilt Milk Theatre as part of the Cardiff Fringe Festival. This was an excellent script produced independently. Joe is one of the best upcoming writers in Wales and Spilt Milk are one of the most passionate theatre companies. Together they produced an amazing show which I can’t wait to see again, developed, at the Sherman Theatre in 2019.

Judith Hughes

Exodus by Motherlode

With underlying serious issues about the struggles and problems of working class Valleys people, Rachael Boulton and her team have created a funny, clever, relevant and thought provoking piece of theatre that strikes a chord with its audience; a reaction that can be heard in their laughter and the warmth of their response.  Suspend your disbelief and climb aboard Exodus airways, it’s better than Easyjet!

Passion, NDCWales/Music Theatre Wales

All credit must go to what must have been an incredible amount of hard work from all of the performers, creators and collaborators. I was unexpectedly riveted to the story they told and absorbed in the whole aspect of the show.

Best thing in 2018 overall was listening to Bruce Springstein’s autobiography (actually published in 2017) which I had on Audible and listened to it twice. What an amazing story – and such a fantastic storyteller. All my life I wasn’t a fan until I read this book.

Hannah Lad

My top 3

3.Dick Johns – Lets Talk about Death Baby!-Really enjoyed just watching a truthful story with no pretences!

2.Dirty Protest: Light Speed at Pembroke Dock – A lovely heart warming story that reintroduce play to theatre!

1.Comedy at Howl, International Women’s Day – Just so good to have such a diverse group of women together in one room!

My favourite arts event I have attended this year was Casgliad hosted by Youth Arts Network Cymru! Such a brilliant weekend with so many awesome creatives!

Sian Thomas

Matthew Bourne’s Cinderella 
I’ve only seen two ballets ever and this was the best one. I followed the story and I really liked the subtle changes they made to it and the way it was performed. Lovely show.

Open Mic Night (Cardiff Fringe) 

Had to include the Fringe! It was the most fun thing I did this summer! Because god I just really really adore this event and I really hope it’ll be back next year – I always love testing out my writing on an audience there. It’s such a safe space and such a confidence booster! Lovely atmosphere, people, and always a lovely summery evening!

Ravensong by TJ Klune

Still because he recognised me, the group, and my old review. Loved feeling seen by an author I admire. The story was fab, the representation was great, and it was a lovely book to read to take one’d mind off things. Also ended with a great cliffhanger! I get so excited when he tweets about new books of this series come up. So this is definitely my #1!

My cultural event:

The fact that I wrote 100,000 words of the second draft of my novel!! I’m just super, super proud of myself. There’s not much to be told: I work on it when I can, work on it slow and steadily, make sure everything is okay, and it’s building itself up into something (hopefully) spectacular!

Barbara Michaels

My Three Best of 2018

With such a plethora of good theatre now available to us in Wales, it is difficult to select just three among the cornucopia of events that has been on offer – from the grandeur of Welsh National Opera, up there with the best in the world, to more humble productions working to tight budgets. For my money, here goes:

Alice in Wonderland at the Sherman Theatre, Cardiff

The multi-talented Rachel O’Riordan’s last production for the Sherman before departing for the Lyric Theatre in London.   O’Riordan pulled all the stops out, with the result that this was fun – as a Christmas show should be – but also showed the dark side of Lewis Carroll’s well-known story. Musical numbers were a delight, with several of the characters on stage musicians and rising to the challenge.  Not staged as a musical, but one waiting in the wings perhaps?  A cunningly designed black and white set allowed for the full range of Carroll’s famous characters – White Rabbit, Mad hatter and even the Caterpillar – to be displayed to advantage.

Moving on to Number 2:

Evita.  

This new production of a classic breathed fresh life into thetrue-life story of Eva Peron with a brand-new cast who more than justified their selection.  Following in the footsteps of Elaine Paige who made the role her own was never going to be an easy task and Lucy O’Byrne’s heart-rendingperformance of ‘Don’t Cry for me, Argentina’ at what was Eva’s last appearance before her death brought tears to the eyes.  It was also good to see some of the emerging talent coming out of Wales in the shape of Swansea-born Mike Sterling as Peron.

First on my list is WNO’s La Traviata  A revival, true, but excellently staged and performed and with Verdi’s wonderful score rendered with a master touch with two sopranos experienced in their roles and Roland Woods’ sonorous baritone lending gravitas to the role of Germont pater, how could it fail to please? An opportunity for the remarkable WNO chorus to shine and for the ladies among them to enjoy wearing elegant ballgowns. The excellent director David McVicar wisely chose to keep to the traditional, with a sumptuous period setting whose opulence reeked of decadence.

Personal best:

For me, it has to be musical theatre and The King and I, which I saw in London.  A sheer joy from start to finish, with Kelli O’Hara as Mrs Anna and Ken Watanabe as the King of Siam taking on the iconic roles made famous by Yul Bryner and Deborah Kerr and performing them with enthusiasm and expertise. First class.  Enhanced for me, I have to admit, in that I was accompanied by a posse of grandchildren helping me to celebrate a big birthday!

 

Karis Price

Theatre Clwyd and Sherman Theatre excelled this year with Lord Of the Flies, with its all female savage cast had me jumping out of my skin and seat whilst offering a critical insight to the frailties of humanity.

However it is the rip roaring, toe tapping hand flapping Great Gatsby from Theatr Clwyd/Guild of Misrule that topped the bill for me in 2018. This innotive, interactive piece held in a run down pub in town was totally engrossing, a brilliant use of venue and a talented cast not just of professionals but community too. (More of this in 2019 please Theatr Clwyd!)

On the whole 2018 was pretty dull in the cinema however one film stood out as been worth the trip to the big screen ” Marvels Infinity Wars” I am an Averger fan girl and this film ticked all the right boxes, it was the ending to the origional Averngers story arch, all the Marvel films todate were building up to this battle … it was worth the wait and the bitter end just left me wanting more.  Of course this doesn’t see the end of the Avengers, but it will be the end for some of the best loved characters and the begining for some new… I only hope the sad passing of the wonderful Stan Lee does not mean we loose the style and wit the MU has created.

 

E. M. BLESS’ON III

The Black History Month grand finale at RWCMD was my personal cultural event of 2018 because it attracted a broad spectrum of the community. Attended by many dignitaries including the outgoing First Minister – Carwyn Jones AM, newly-elected First Minister – Mark Drakeford AM, Cabinet Secretary for Health, Wellbeing and Sport – Vaughan Gething AM, young people and several elders from various communities in South East, West and North Wales, it was a celebration of diversity in Wales.

Gareth Williams

Keeping Faith

From its humble beginnings as Un Bore Mercher on S4C, I could never have imagined that this drama would prove to be so popular with UK audiences. Subsequently broadcast in the English-language on BBC1 Wales, it would become the most downloaded show ever on BBC iPlayer before being shown on primetime BBC1 in the summer. Deservedly sweeping the board at the BAFTA Cymru Awards, I will be outraged if Eve Myles is not at least nominated for a BAFTA in 2019. Her portrayal of Faith Howells, whose world is rocked by the disappearance of her husband, is deeply emotional and utterly captivating. This is surely her defining role.

Wild Silence – The Wandering Hearts

If I had to pick one album to recommend from 2018, it would Wild Silence by The Wandering Hearts. When I first heard it, it was their incredibly refreshing and genre-blending sound that captured my attention. The more I’ve listened to the album, the more the lyrics have come to the fore and I’ve discovered another fascinating layer to their fabulous array of songs. To finish the year seeing them live in Liverpool confirmed my belief that these guys are destined for bigger things.

Home, I’m Darling, Theatr Clwyd

My theatre highlight this year has been this co-production between Theatr Clwyd and the National Theatre. With its life-size house for a set, its bold and brash set design, and its wonderful costumes, the overall look is enough to pull you into its 1950s world. Starring Katherine Parkinson and Richard Harrington as the couple living it up in a lifestyle of nostalgia, its saccharine exterior slowly melts away to reveal a darker and very pertinent narrative that will have you firmly gripped from beginning to end. Another triumph for Artistic Director of Theatr Clwyd, Tamara Harvey and her team.

Theatre

Review Hansel, Gedeon and the Grimm’s Wood, Odyssey by Chloe Clarke

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Hansel, Gedeon and the Grimm’s Wood.
Wales Millennium Centre, 6-8th December 2018.

A Christmas treat, Hijinx Odyssey cleverly put their unique slant on a delightful but dark compendium of Grimm’s classic tales, centred around a trepidatious Hansel and cheeky, daring Gedeon, deftly played by Danny Mannings and Mathew Mullins respectively. Venturing into the forbidden forest against their parent’s wishes they encounter a host of colourful characters – from partying princesses (Kirsty Rosser and Jen Lacey) to Odyssey’s very own Rolling Stones the Musicians of Bremen (Keith Richards being a highlight, otherwise known as Donkey, played by Matthew Cook), The well-timed physical comedy of The Boy Who Went Looking for Shivers (Freddie Holcombe) and the sinister Wolf and his evil cohorts.

Most impressive was the incorporation of beautifully constructed puppets in the form of the Wolf, Thirteenth Wise-Woman, The Ugly Stepsisters and Witch, constructed by hugely talented University South Wales students as well as a stunning, colourful set and costume design from Kitty Callister. The puppets were skilfully operated by cast including Andrew Todd, Jen Lucey, Andrew Tadd, Geraint Stewart-Davies, Sara Pickard and Sian Fouladi.

A touch tour was offered before the show so I got to experience these magnificent features up close, and audio description provided by Alastair Sill ensured that I had access to the show throughout. All shows were BSL interpreted by Sami Thorpe so that D/deaf audiences had as much choice as hearing audiences in which show they’d like to attend.

The Odyssey Christmas show is always a pleasure to partake in – there’s a fantastic, supportive, familial atmosphere of anticipation and excitement as people of all ages are welcomed in. The fact that audience members are invited to come up on stage at the end to meet the actors and puppets enhances this. The company’s humour and unique character comes through beautifully and this gets stronger each year thanks to the continued commitment of the group, their director, volunteers and support staff.

The show was very clear in terms of structure thanks to cleverly considered and witty writing from Llinos Mai and insightful, creative direction from Jon Dafydd-Kidd, ensuring that the talented cast kept us engaged and laughing throughout. This is a fun and frivolous show that celebrates and maximises the talent of the Odyssey team – ‘team’ being the optimum word – in which every single member is vital and dedicated, all the while not being afraid to go to dark places: something that a lot of inclusive groups are often too afraid to do. Colourful, dark and funny, we were swept up on the journey all the way to the Grimm’s Wood and back again.

Chloe Clarke

Theatre

REVIEW: ‘ADDAMS FAMILY: THE MUSICAL’ BY GEMMA TREHARNE-FOOSE

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out of 5 stars (3 / 5)

Anyone growing up in the late 80s and 90s will have a fond recollection of the original Addams Family TV series. Inspired by the creator of the Addams Family comic strip by Charles Addams, the family were a dark inversion of the idealised nuclear American family. What started out as a popular comic strip and TV show snowballed into a staple of iconic popular culture across the entire globe.

The Addams Family creative treatment has now expanded to encompass TV remakes, several films, multiple theatrical productions, and video games. The show has already toured extensively in the UK, with dates at Cardiff’s Wales Millennium Centre, but this time Kinetic Theatre company bring a smaller version of the production to the Royal Welsh College of Music and Drama. The company, headed up by Artistic Director Kris Cowley is a training company for musical theatre for young people aged 16 and over – and has now been relaunched as Kinetic School of Performing Arts.

Their members are at differing stages of their theatrical experience, with many of them acting as mentors for other members to develop their confidence and skills. I overheard Artistic Director Kris Cowley tell another audience member in the interval that they had given one of the lead roles to twelve-year-old Lewys Rees, who was nervous about cutting his teeth on his first production while playing the part of Pugsley Addams, but was being supported and encouraged by his team.

It’s great to see new talent like this emerging from grass-roots groups and being given big breaks often not afforded to those without significant experience with established performing arts schools or academies. In this sense, companies like Kinetic do great work in opening up access to performing arts and removing the barriers people often face. It takes a lot of courage to hold your own at such a young age – but Lewys Rees had a promising voice, which I’m sure will put him in good stead for next year’s ‘Camp Rock’ musical being developed by Kinetic.

The synopsis for the show is good – kooky Wednesday Addams meets a rather conventional (some might say bland and boring) romantic prospect. Chaos follows when she asks her father Gomez to keep a secret about the real reason for inviting her boyfriend Lucas’ family – they are engaged to be married. As Lucas’ Mother and Father descend on the Addams family mansion, tensions build as the Beinekes encounter the macabre Addams family, their dead ancestors, family rivalries and inevitable fall outs when their two worlds collide.

The story lends itself well to a musical format and there’s a generous mix of upbeat songs from a variety of genres to move things along. The ensemble cast (dead ancestors) were superb in amplifying the story and musical directors Liz York and Emma Pawsey have done a stellar job in translating the musical score into strong blended vocals and punchy choreography on stage.

I loved the opening number ‘When you’re an Addams’ and the production is at it’s strongest during the whole-cast ensemble pieces. The segment when the two families sit down to dinner (‘Full Disclosure’) brought to mind Fosse-like choreography and a flavour of the Chicago movie song ‘Both reached for the gun’.

Now for the not so great bits. At such an early stage in their performance experience, the production does lack gloss and finesse in places. Lights seem late to come up after blackouts, the microphones on the actors’ faces pick up sound (breathing and talking) after the actors have left the stage. Gomez’ accent is a little…off….and can be distracting at times, nevertheless – Jack Davies is enviable in his delivery of personable Gomez, his comic timing is great and his execution during the ‘Happy/Sad’ song was sweet.

Georgia Tonge as Wednesday seems unsure of herself at times, yet her accent as Wednesday is impeccable and her vocals are generally good. For me, one of the standout characters was Fester (who I believe was played by Thomas Price the night I was there) – his zany antics and wiry, frenetic physicality bring great energy and pace to the show’s story. A truly charming presence on stage.

The star of the show has to be the poker-faced Zoe Martin who was simply brilliant as Morticia Addams. Sleek and sassy and with a ‘bitchy resting face’ to rival Anjelica Houston, her deadpan demeanor and withering put-downs were as sharp as a tack.

The routine between Zoe Martin and Jack Davies as a tangoing-couple during the song ‘Tango de Amor’ was fabulous. Well done lastly to the superb ‘dead relatives’ who did so much to bring life and zest to this production. My daughter (age 9) was watching you all like a hawk, noticing every facial expression and raise of an eyebrow.

“They’re really good actors, Mom!” she told me during the interval – she’s part of a performance group herself and always keeps a beady eye on the supporting actors in the background. I’d better bring her back to RWCMD to see Camp Rock next year – though I suspect in the meantime she’ll beg me to join Kinetic, because they’ve clearly made an impression on my little Miss!

Keep it up, Kinetic!

Theatre

Review: BOOT by Phill Brewer at The Atrium by Gareth Ford-Elliott

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out of 5 stars (3 / 5)

BOOT by Phill Brewer, the debut production from Volition, is a chilling exploration of events in its protagonist’s story. Refusing to adopt a chronological form, Brewer’s style of monological storytelling perfectly matches the harsh world and erratic character he creates.

In essence, it’s a romantic tragedy that follows a man who, rightly or wrongly, can’t let his love for a woman go. He goes to extreme lengths to protect her physically and emotionally, sacrificing himself in the process.

A lot of people would portray this as a classic showing of toxic masculinity. With the violence, male entitlement and refusal to show weakness – it certainly can be interpreted that way. However, Volition’s aim is to represent a character’s voices, in their own words, and present them to an audience. Allowing the audience leave with their own opinions of that situation.

On the other hand, whilst BOOT has those classic tropes of toxic masculinity, the protagonist doesn’t gain from the situation. It’s a character who is as much a victim of circumstance, as he is of his own actions. Seeing it through his words, we see his perspective and reasoning, rather than simply blaming toxic masculinity.

You can read it in many ways, or merely as the story without the social-political views. It’s this viewing experience that separates Volition from various various other theatre companies. Often people ask, “what is the message?” Whereas for Volition it’s more, “what did you think?” It’s a really fresh take for modern theatre that seems to be obsessed with artist’s voices and messages – not that there is anything wrong with that, but certainly room for both.

The play starts in the boot of a car with the male protagonist and that is where it ends. The writing from Phill Brewer is smart in its aim to present the protagonist’s story in his own words, as in between the bumpy ride, we see the turbulent story that brought him to this position.

It starts at the right place, hits the right notes throughout and ends leaving you with the perfect balance of satisfaction and intrigue.

There is room for it to grow as a script. Generally some sharpening and a little addition of humour wouldn’t go amiss to help bring out the character. But overall it’s a really solid script with massive potential.

Written as a monologue, Rebecca Riley makes a good decision as director to perform this as an ensemble piece which brings the script to life really nicely. It’s paced well with the only real issues being minor blocking ones and, at times, an issue of tone.

The play starts at 100, with the protagonist freaking out. This just feels a bit intense to start and, whilst it makes sense, could do with some work as it somewhat kills the opening ten-fifteen minutes. Especially as we never really build back to that level.

The direction of the ensemble is really nice from Riley, who uses physicality beautifully to add to the piece.

The acting from lead, Connor Hughes, is strong. The moments of clear emotion are great, but Hughes does a good job of also showing what’s bubbling underneath. Because of this, it’s really easy to know what the character is feeling and everything from the script makes sense on stage.

The ensemble generally do a good job of bringing the piece to life and really help with the pacing of the script. There are a few instances of over-acting from the ensemble members, which may well be a directing issue, that sometimes takes focus away from the lead. But, overall a good addition to the production.

BOOT shows a level of lighting design I was not expecting coming in. The use of red lighting is really evocative, as well as the box light to represent the boot of the car. In this aspect, Zach Ashley did a really good job.

It is a shame there isn’t more explored in the sound design. This can be put down to lack of resources and time. However, often the noise of moving ensemble takes away from the show. More sound design could cover this and add something of its own. But generally, the design aspects are above expectation.

There is room for improvement with this production, especially in nailing the ensemble work, a little work on the script as well as incorporating the design elements that feel missing. But, on the whole this is a really enjoyable piece of theatre with a really interesting discussion to follow it.

BOOT has real potential, perhaps let down by the lack of time and resources afforded to it. A great script, visionary director and a solid lead make this a really promising debut from Volition.

BOOT performed at The Atrium, Cardiff
From December 11th-12th 2018
Presented by Volition
Written by Phill Brewer
Directed by Rebecca Emily Riley
Stage Manager – Zach Ashley
Cast:
Connor Hughes
Tasha Walton
Sergio Taddia
Tilly Jordan
Jose Pedro Fortuna
Photo Credit – Adam Robinson

Theatre

Review Dick Whittington: The Puuurfect Rock ‘n’ Roll Panto Theatr Clwyd by Donna Poynton

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out of 5 stars (5 / 5)

Theatr Clwyd, Mold have long held the baton in North Wales for the ‘cult’ panto and Dick Whittington: The Puuurfect Rock ‘n’ Roll Panto is certainly no exception. Suddenly, panto got cool!

Upon entering the auditorium, we are greeted with a partly open stage where it becomes clear that the band will be on view throughout the show. However, once the action begins, we see that the cast, are in fact, also the band; Tommy the cat goes from cartwheeling around after rats to playing the drums and Alice Fitzwarren is one moment seen swooning after Dick Whittington and the next rocking out on electric guitar! The small cast of ten are constantly on stage, unless they’re darting off for a quick costume change!

 

The costumes are fabulous; well thought out and often traditional but with hints of punk! King Rhydian the Rat’s costume reminds us of rock musician Adam Ant, and his minion rats, Scratch and Sniff, don large green wigs and wear tartan! Special mention must go to Sarah the Cook’s delightful Dame costumes which always provide a giggle upon entrance!

 

The writing offers the usual ‘oh no he isn’t’, ‘oh, yes he is’ type interactions as well as plenty of boos, hisses and an audience soaking! The most memorable gag, well deserving of a mention, is one in which Wally Fitzwarren is attempting to prepare his crew (Tommy the Cat, Dick, Alice, Harriet and Sarah the Cook) for their ship’s voyage. What ensues is a concoction of great physical comedy involving mops and a simple yet very effective ‘copy everything I say’ skit! Superb timing and snippets of the cast simply enjoying themselves as themselves with more underlying adult humor than your average panto! Also refreshing is the use of the Welsh language, heard plentifully throughout the production as the plot is brought from London to Mold, allowing the audience to feel more engaged with the action.

This production includes a stellar cast with phenomenal vocals, wonderful musicianship and a brilliant repertoire of songs including Bat (Rat) out of Hell, Nutbush City Limits, I’m Yours and In the Navy! It’s impossible to single out any cast member as all are truly fantastic in their own right. It’s always a tonic to witness a production which doesn’t need celebrity names to sell out and be a huge success!

The production runs until the 19th of January at Theatr Clwyd.

Theatr Clwyd, Mold

November 23rd 2018-January 19th 2019

Writer: Chris Patterson

Writer in Residence: Alex Murdoch (supported by Gladstone’s Library)

Director: Zoë Waterman

Assistant Director: Francesca Goodridge

Casting: Kay Magson CDG

Design: Adrian Gee

Musical Director: Tayo Akinbode

Choreographer: Will Tuckett

Technical: Mark Howland, Matthew Williams, Alec Reece, Edward Salt, Cassey Driver

Cast includes: Royce Cronin, Toby Falla, Phylip Harries, Daniel Lloyd, Alice McKenna, Peter Mooney, Lynwen Haf Roberts, Emmy Stonelake, Luke Thornton, Anna Westlake

Running time: Approximately 2 hours and 20 minutes (inc. interval)